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Thomas Tallis, (born c. 1505, Kent?—died November 20 or 23, 1585, Greenwich, London), one of the most important English composers of sacred music before William Byrd. His style encompassed the simple Reformation service music and the great Continental polyphonic schools whose influence he was largely responsible for introducing into English music.

Nothing is known of Tallis’s education. In 1530–31 he held a post as an organist at Dover Priory, and in 1537 and part of 1538 he was at St. Mary-at-Hill, London, though it is not known in what capacity. He moved to Waltham Abbey, Essex, in 1538, and his name appears in a list of persons who in 1540 received wages and rewards for services at the dissolution of the abbey. From Waltham he appears to have gone briefly to Canterbury Cathedral, where he is listed among the singers. In 1543 he became a member of the Chapel Royal. In a petition to Queen Elizabeth I, made jointly with Byrd in 1577, he refers to having “served your Majestie and your Royall ancestors these fortie years,” but it is thought that perhaps he had some association with the court in the years before his appointment as a gentleman of the Chapel Royal. In that capacity he served under Henry VIII, Edward VI, Mary Tudor, and Elizabeth I.

On January 21, 1575, Queen Elizabeth granted Tallis and Byrd the monopoly for printing music and music paper in England; that was the first instance of letters patent issued for that purpose. The first publication under their license was a collection of 34 motets, 17 by Tallis and 17 by Byrd (perhaps referring to the 17 years of Elizabeth’s reign to date), entitled Cantiones sacrae, printed by T. Vautrollier in 1575. Those Latin pieces, together with five anthems to English texts printed by Protestant printer John Day in his Certaine Notes… (issued 1565, though partially printed in 1560), comprised all of his music that Tallis saw in print during his lifetime.

Tallis’s Latin works include a modest, unnamed four-part mass; a five-part mass, Salve intemerata, derived from his antiphon of the same name; a seven-part mass; and two settings of the Magnificat. He also made two settings of the Lamentations of Jeremiah, the first of which is among his most-celebrated works. Among his Latin pieces two in particular are often cited as demonstrations of Tallis’s supreme mastery of the art of counterpoint: the seven-part Miserere nostri, an extraordinary feat of canonic writing, involving retrograde movement together with several degrees of augmentation; and the famous 40-part Spem in alium, considered a unique monument in English music.

Tallis was one of the first composers to provide settings of the English liturgy. He wrote settings of the preces and responses, the litany, and a complete service “in the Dorian mode,” which consists of the morning and evening canticles and the Communion service. There are also three sets of psalms and a number of anthems.

Tallis’s keyboard music is regarded as substantial and significant. Of his 20 extant keyboard pieces, most appear in the mid-16th-century manuscript known as the Mulliner Book.

Tallis’s work lived on into the 21st century, aided by such groups as the Tallis Scholars, who performed and recorded music of the Renaissance. Its survival was also helped in part by English composer Ralph Vaughan Williams, whose highly popular Fantasia on a Theme by Thomas Tallis (1910; rev. 1913, 1919) was based on Tallis’s Third Psalter Tune. Vaughan Williams had discovered that musical piece when he took over the music editorship of The English Hymnal (1906).

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